The Enormous Room · Chapter
VI: Apollyon explained
This chapter introduces Monsieur le Directeur, whom Cummings dubs 'Apollyon,' as the embodiment of absolute, incomprehensible power at La Ferté Macé.
What happens
This chapter introduces Monsieur le Directeur, whom Cummings dubs 'Apollyon,' as the embodiment of absolute, incomprehensible power at La Ferté Macé. Cummings describes the three instruments of the Directeur's rule: Fear (enforced through subordinates, punishments like the cachot, and direct contact with the Directeur), Women (used as a tool of control and degradation), and Sunday (compulsory religious services that serve as another means of domination). The chapter details the hierarchy of officials, the brutal conditions of the prison, and the psychological terror wielded by the Directeur.
Themes in this chapter
Freedom vs. Imprisonment
The chapter contrasts the prisoners' physical confinement with the Directeur's absolute power, highlighting the loss of autonomy and the psychological terror of imprisonment.
Bureaucratic Absurdity
The absurdity of the prison's hierarchy and rituals—such as the Directeur's tours for visitors and the farcical Sunday mass—underscores the dehumanizing machinery of the French state.
Human Dignity and Community
Despite the degradation, moments of solidarity (e.g., smuggling cigarettes to prisoners in the cachot) and the narrator's respect for the Surveillant's decency suggest the persistence of human dignity.
Characters to notice
- Apollyon
Identified as Monsieur le Directeur, the fiendish ruler of La Ferté Macé who wields absolute power through fear, women, and Sunday.
- Surveillant
Described as the most decent official at La Ferté, kind to the narrator and generally lenient, though still a tool of the Devil.
- Monsieur Richard
The Secrétaire, noted for his room decorated with magazine covers of women and his pot of geraniums.
- The Black Holster
A planton who stands guard during Sunday mass, spying on worshippers, and who locks prisoners in the cachot with a ring of keys.
- Garibaldi
Mentioned as the Fake French Soldier, kneeling in fear during Sunday mass.
- Surplice
Depicted as fiercely fearful, praying on his knees during the Sunday service.
Key passages
“By Apollyon I mean a very definite fiend. A fiend who, secluded in the sumptuous and luxurious privacy of his own personal bureau ... compelled to the unimaginable meanness of his will by means of the three potent instruments in question all within the sweating walls of La Ferté—that was once upon a time human.”
Cummings defines Apollyon as a specific demon who, hidden in his lavish office, forces his cruel will upon the prisoners using fear, women, and Sunday.
Introduces the central metaphor of the Directeur as a demonic figure.
“Fear was instilled by three means into the erstwhile human entities whose presence at La Ferté gave Apollyon his job. The three means were: through his subordinates ... through two forms of punishment ... and, finally, through direct contact with his unutterable personality.”
Fear is imposed on the prisoners through the Directeur's underlings, punishments like the cachot, and his own terrifying presence.
Outlines the threefold system of control.
“Sunday: green murmurs in coldness. Surplice fiercely fearful, praying on his bony both knees, crossing himself. … The Fake French Soldier, alias Garibaldi, beside him, a little face filled with terror … the Bell cranks the sharp-nosed priest on his knees … titter from bench of whores—”
Sunday mass is a cold, fearful affair: Surplice prays desperately, Garibaldi trembles, the priest is mechanical, and the women snicker.
Depicts the oppressive and absurd atmosphere of the compulsory religious service.
